I sat down to write the introduction to the 2006 edition of Stereophile's annual "Records To Die For" extravaganza, and what popped into my head? Why, death, of course. After that, dead rock stars. What a concept. I mean, talk about dying for music.

This year marks the tenth time I've written an introduction to Stereophile's venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers—hardware or software, deadline-phobic or not—manage to find something worthwhile to say, year in and year out, about music—which, after all, is why we became audiophiles in the first place.

The value of music as a commodity, and as one of mankind's wonders, has never been in such flux. Retail record shops are dying, the former major labels are focused on making records for kids (the same kids they're suing), and the business overall remains wedded to an incredibly short view (get a hit or get out), but the music itself continues to trickle through to those who want itand, yes, on some level would die without it.

A crime of passion? Depraved indifference to the importance of tuneage? Death by music? The simple fact is that most audiophiles got that way by having too many records. That's rightvery few got into this rewarding, non-contact sport because they were aroused by shiny brushed-steel boxes or supersexy speaker grilles. It's because they wanted to hear their piles of musictheir Mahler, Monk, or Rick Jamessound the best it could. (And, okay, yes: It is cool to show drooling friends your designer gear.)

It's always revealing to see exactly what music people have sitting on their shelves or hard drives. It tells you a lot about themwhether they're kindred spirits (Bill Evans) or something less (Sting). In many ways, our annual "Records To Die For" feature is a kind of mini-window into the musical souls of our contributing editors; may the Gods of Song bless their tortured souls, every one. In the past, such choices as the soundtrack album for the movie Casper have raised eyebrows, if not outright suspicion. Still, along with crowing about our favorite records, we try to keep it all in good fun. What's the title of Stephen Mejias's excellent blog at www.sterophile.com"Elements of Our Enthusiasm"? Well then, here are some of those precious elements that feed that enthusiasm. Remember: Gear ain't great without something to play on it.Robert Baird

Each year when I sit down to write this introduction, I get stuck on the whole dying-for-music thing. I get visions of the Lincoln assassination conspirators, swinging from ropes with sacks over their heads. Like '80s hair bands do ya? Pull the trap door! Or Mary Queen of Scots kneeling before the block: A fan of smooth jazz? Let the blade fall! Yes, it's silly on some level, but what exactly is the feeling that would make one martyr oneself for music?

Components listed here have been formally reviewed in Stereophile and have been found to be among the best available in each of four or five quality classes. Whether a component is listed in Class A or Class E, we highly recommend its purchase.

Each listing—in alphabetical order within classes—is followed by a brief description of the product’s sonic characteristics and a code indicating the Stereophile Volume and Issue in which that product’s report appeared. Thus the September 2010 issue is indicated as “Vol.33 No.9.”

At a time in history when the music business seems less interested in making anything of lasting value than in churning out disposable musichits intended to be consumed for a few days via iPod, then left behindthe notion of cherishing the masterpieces, the records to die for, seems a lost art. Yet it's exactly that state of beingas when Lady Gaga's latest outfit commands a bigger spotlight than the recent Pink Floyd reissuesthat makes our annual "Records To Die For" feature that much more essential.

Components listed here have been formally reviewed in Stereophile and have been found to be among the best available in each of four or five quality classes. Whether a component is listed in Class A or Class E, we highly recommend its purchase.

Each listing—in alphabetical order within classes—is followed by a brief description of the product's sonic characteristics and a code indicating the Stereophile Volume and Issue in which that product's report appeared. Thus the September 2012 issue is indicated as "Vol.35 No.9."